Teheuti
Great List, Ross. So what would a Tarot of the Gospels/Evangelists have been? Did I translate it right?
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Guillaume Postel, the Clavis and ROTA
John Meador
Apollo's Hyperborea
"The north, Postel explained, was the dark spot of the universe, the focus of evil from which all wickedness emanated. Satan was physically present in the far north, chained there for all eternity, surrounded by his demons. But because all evil was redeemed by the grace of God, the cursed north could, at the same time, be the source of everything that was good and righteous. Precisely because the north was the abode of Satan, it also had to be the site of earthly Paradise. According to Postel, the North Pole was the place on earth that was closest to heaven."
-Stefan Donecker (European University Institute, Florence): The Lion, the Witch and the Walrus: Images of the Sorcerous North in the 16th and 17th centuries
http://www.inst.at/trans/17Nr/4-5/4-5_donecker.htm
"...Postel the mathematician and cartographer, in his Polo adapta nova charta universi, the first map of the world in polar projection, sought to site at the pole the land of the Hyperboreans (who knew neither illness nor death), the Earthly Paradise..."
-Francois Secret: “Palingenesis, Alchemy and Metempsychosis in Renaissance Medicine” (trans. by H.J. Sheppard) in: Ambix 26, 1979, pp 83-89.
This approach appealed greatly to the Hyperborean enthusiast, Bureus.
"As Franckenberg saw, Postel's influence extends into the very structure of Bureus' apocalyptic scheme....through contacts with the mystic Abraham van Franckenberg in Amsterdam, Johannes Bureus' personal fame rose to such a point that he was to be numbered among the Christian kabbalist sages of the nations, sages such as Joachim di Fiore, Pico, Reuchlin, Agrippa, Francesco Giorgi, Giordano Bruno, Petrus Bongus,Julius Sperber and Philip Ziegler.
The list was appended to a new edition of Guillaume Postel's Absconditorum a Constitutione Mundi Clavis (Amsterdam, 1646, 1st ed. Paris, 1553), a mystical text on the seven ages presented by Franckenberg to the court of Wladislaus IV in Poland.
After drawing Bureus into this radical kabbalist company, Franckenberg ends his edition <of Postel's Clavis Absconditorum> with an Oriental-Pythagorean post-script that displays the key of David that contains the secret of Divine kingship, with the announcement:
'Salve, Philomysta. We offer you the key to the innermost sanctuary, but purify yourself before you move towards the Divine: this is the law. Learn of Universal sapience, of the tetrachord and of Apollo's chariot, the wheel of sapience, and you will more easily understand the science of the Mercabah, the chariot of Isra-El, a reliquary cherubinic, or biblical.'
The Pythagorean tetrachord and the chariot of Apollo is in this statement set beside the Mercabah mysticism of the kabbalists, perhaps to suggest that knowledge of musical consonance and poetry can enhance the angelic visions of the Bible."
-Susanna Åkerman: Rose cross over the Baltic: the spread of rosicrucianism in Northern Europe
http://books.google.com/books?id=0m...bs_toc_r&cad=4#v=onepage&q=seven ages&f=false
"In a commentary on his <Postel> translation of one of the monumental works of the Kabbalah, the Zohar, he <Postel> wrote: "Christ who, in fact, was born in a like manner to men, was, following the ecstasy of Enoch, amid the multitude of men in his pantopaeon spirit." We have already heard from Jean de Sponde this name Paeon, a basic title for Apollo, healer, helper, physician; and here the prefix Pan denotes the whole of mankind finally saved in the Restoration of all things."
--Francois Secret: “Palingenesis, Alchemy and Metempsychosis in Renaissance Medicine” (trans. by H.J. Sheppard) in: Ambix 26, 1979, pp 83-89.
For more information on the followers of Postel, such as Guy le Fevre de la Boderie, his brother Nicolas, Jean Boulaese, Vincent Cossart, Louis Martel, Adrien Le Tartrier, Jean Edouard Du Monin, Theodore Zwinger, Blaise de Vigenere (who is attributed the 72 seals that has made their way to certain Tarots) , Jean Oporin, Pierre Victor Palma Cayet and many others, see: “L’Ecole De Guillaume Postel”, pp. 187-217. in:Francois Secret: Les Kabbalistes Chretiens de la Renaissance ,1964.
also:
-Maxime Gaume: Les inspirations et les sources de l'œuvre d'Honoré d'Urfé
http://books.google.com/books?id=Nre-bunTPysC&pg=PA397&lpg=PA397&dq=blaise+vigenere+guillaume +postel&source=bl&ots=O_H9iW_zMT&sig=7vlWBnrhFTSsiEhcY-Cor3rFYt4&hl=en&sa=X&ei=iEcpT7- LHKSjsQLftMG2Ag&ved=0CE8Q6AEwCDgK#v=onepage&q=blaise%20vigenere%20guillaume%20postel&f=false
"The survival of Rosicrucian reasoning may have passed, not so much through German thought, as much as through the freethinking circle of Abraham von Frankenburg at Amsterdam. This circle included the Iberian rabbi Menasseh ben Israel and the millenarian mystic Paul Felgenhauer, and some of this atmosphere can still be felt in the paintings of Rembrandt (who illustrated Menasseh's millenarian work Piedra Gloriosa [Amsterdam, 16551 ). Frankenburg's absorption of Jacob Boehme's salvific system, together with the eschatological ideas mediated by Bureus and Morsius, forms a peculiar and eclectic variety of Rosicrucianism as it emerges in van Frankenburg's book of signs, Raphael (Amsterdam, 1654). Arabic angelic mysticism, Kabbala, and Jewish mystical traditions generally informed the entire process."
"...The Liber T[hesaurus] of the Fama could well be Postel's Tabula Aeterna, instead of being, as Edighoffer suggests, Ibn Umail's twelfth-century Tahula Chemia or the Hermetic Tahula Smaragdina."
-Akerman, Susanna. “The Gothic Kabbala: Johannes Bureus, Runic Theosophy, and Northern European Apocalypticism,” in The Expulsion of the Jews: 1492 and After, edited by Raymond B. Waddington and Arthur H. Williamson. New York – London:
Garland Publishing, 1994.
Postel had published a broadsheet of 72 quaternities in Paris in 1553: Tabula aeternae ordinationis quaternario constituto inter summae expansionis et coactionis terminos ( drawn from a larger manuscript of his) that categorized everything into quaternities. A sort of exegesis of the Tetragrammaton and informed by his studies of Joachim of Fiore, alchemy, etc; Postel believed time consists of the ages of Nature, Law, Grace and culminates in Restitution. These belong under the provenance of Father, Mother, Son & Daughter.
To the Father belong: East, yod, fire, Leo, the archangel Michael, chesed,white, citron, Pison, Natural Law.
To the Mother belong: South, heh, air, Taurus, Gabriel, geburah, red, palm tree, Gihon, Scriptural Law.
To the Son belong: West, vav, water, Aquarius, Uriel, tifferet, black, myrtle, Tigris, Grace.
To the Daughter belong: North, final heh, earth, Scorpio's eagle, Raphael, malkuth, blue, willow, Euphrates, Restitution.
Restitution for Postel was symbolized by the conjunction of the moon and sun. The entire model is intended to be applied geographically in that the spiritual pilgrim proceeds from the East to the South to the West and arrives alchemicaly refined at the North.
As Michael Hurst has pointed out at his website's discussion of Postel's Clavis, if the illustration of the Key is rotated so the inscriptions of the Key can be conveniently read, and we follow Postel's itinerary instruction, we read from the east, south, west and north: ROTA. Should this injunction be followed: OTAR, TARO, AROT. Boustrophedonically: ATOR, TORA, ORAT & RATO
It is significant that Postel came to believe that the terrestrial Paradise lay in the North Pole and reflected in his composition of a map of the poles toward the end of his life. Abraham von Franckenberg recapitulates Postel's quaternities in his own work: Raphael oder Artzt Engel, 1676 which follows upon his 1647 centennial edition of Postel's Clavis abscondititorum containing Franckenberg's TARO/ROTA plate as an interpretive illustration of Postel's concepts.
in Postel's Clavis section: Quae in Vetere we read-
"Haec est Cabodielis & Razielis sententia, etiam monumentis secretioris
tradita theologiae, in 72."
" Another version of... < sefer ha-Raziel> the Key to the Palace of the King is described in the beginning of the book . The handle of the key consists of a square for the four elements with a triangle representing man inside; the seven teeth (wardens or angels) of the key represent the seven planets. The key has some resemblance to the key illustrated in Postel's Clavis Absconditorum (1547) a text which discusses the restitution of the soul through the Tree of Life with the comment:
'C'est la la sentence de Cabdiel et Raziel qui nous est transmise par les monuments les plus secrets de la Theologie dans les Reponses verbales des 72 Anciens'.
A second edition of Postel's Clavis was edited by Abraham van Franckenberg in 1646 and was published at Amsterdam by Jan Janssonius, the same printer who set up shop in Stockholm in 1649. There was an emeging market for astro-spiritual healing methods and it was known to some of these readers that Raziel describes the four corners of the square as containing 'four virtues found in herbs and words and grass'. Or as the text says: the key of this book is to write and know the place of the seven bodies about & their names & their natures & their houses & all their vertues after they approach the earth.'
- Susanna Akerman: Queen Christina's Latin Sefer-ha-Raziel Manuscript, in: Judeo-Christian Intellectual Culture in the 17th Century; ed. Allison Coudert, 1999
In his Raphael oder Artzt-Engel ( ), Abraham von Franckenberg ( – ), disciple and early biographer of Jakob Boehme, has a section on ‘Kabalistic or Spiritual Medicine,’ which includes a table of correspondences between Kabala, Magia and Chymia. At the bottom of the table we discover that the loci for these practices are, respectively, Oratorium, Auditorium, and Laboratorium. is association of esoteric sciences and spaces is undoubtedly inspired by the Paracelsian doctor Heinrich Khunrath of Leipzig ( – ), whose De Igne magorum ( ) insists on the vital necessity of working alchemy, magic and cabala in conjunction.2 ese three arts combine in Khunrath’s Christian-Cabalist, Divinely-Magical, and Physico-Chemical magnum opus the Amphitheatrum sapientiae aeternae ( / ), finding their most profound expression in his image of the Lab-Oratorium, probably one of the best-known images of early modern esotericism....
...Christ can be known naturally through the Stone and the Stone theosophically through Christ.8 So inspired is he by this revelation that he exuberantly exclaims, ‘Oh, wondrous Regenerative harmony of the Macro and Microcosm’...
..thee notion of music mediating between the verbal activity of the Oratory and manual activity of the Laboratory finds support from the famous third-century musical theorist Aristides Quintilianus’ claim that ‘Only music teaches both by word and by the counterparts of actions’.10 is reading is partly encouraged, too, by one of the most famous Renaissance magi, Marsilio Ficino ( – ), who justified his personal combination of medicine, music and theology with the argument that music is as important for the intermediary spirit as medicine is for the body and theology for the soul.11 True, Franckenberg prefers soul as the intermediary principle, but the table-cloth beneath Khunrath’s instruments bears the more “pneumatic” message: ‘Sacred Music is the dispeller of sadness and evil spirits,
Khunrath, Amphitheatrum, , II, Khunrath, Amphitheatrum, , II, 10) Mathiesen, ‘Harmonia and Ethos’, 11) Kristeller, ‘Music and Learning’, , .
-P.J. Forshaw, 2010: Oratorium—Auditorium—Laboratorium: Early Modern Improvisations on Cabala, Music, and Alchemy. Aries, 10(2), 169-195.
http://www.scribd.com/doc/44584817/Forshaw-Cabala-Music-and-Alchemy
Of the 72 naibs:
"Postel says that the republic of the world will be divided into twelve seats with twelve other seats as alternates, so that there will be twenty-four centers for administering the theocracy.<<Postel names the twelve seats of the universe as (1) Chambale, (2) Sammarcant, (3) Moscovva, (4) Leucetia, (5) Marroca, (6) Chaschiuma (7) Motapa, (8) Cuscoa , (9)
Tenuchtitla, (10) Graua, (11) Australis Regio, (12) Vardhaus. … <<See the British Library, Sloane ms. 1412, fol. 12>>…'The number twelve represents the twelve apostles, the twelve tribes of Israel, the twelve signs of the Zodiac<< Ibid., fols. 6, 22'.>>. Postel calls the twelve heavenly signs the doors for entering into the heavenly state IERUSALEM, for the building of which God and nature made the world. For each of the "twelve doors "or seats of the universal monarchy there are six ministers which make seventy-two judges in all <<127. Ibid., fol. 27.>>. Postel's plan for a universal monarchy may seem to the modern reader to be the utopian dream of an idealist which he never expected to be realized. Regardless of how his world view may strike us today, Postel was completely serious about the necessity of establishing God's kingdom on earth. This kingdom has the Tabernacle as its model."
-Marion Kuntz: "Guillaume Postel and the Universal Monarchy",in Guillaume Postel 1581-1981, ed. Guy Tredaniel, 1985.
"Chasdia, or the Land of Chessed (God's mercy) was the name Postel gave from the beginning to Terra Australis Incognita (not only Terra del Fuoco but all the conjectural landmass around the South Pole and the Southern parts of America, Africa and Asia). Postel called also Africa Chamia (land of Cham), Asia was for him Semia (land of Sem) and of course Europe was Iapetia.
America was Ophir or Atlantis. But his geography is a mix of the Bible, and Roman, "Chaldean" and Etruscan Antiquity..."
-Marica Milanesi
http://mailman.geo.uu.nl/pipermail/testlist/2004-January/000055.html
Seventy-two judges are for the 72 Names of God and also: gilgul(gimmel,lamed,gimmel,vav,lamed=72)meaning “circles of return” or transmigration, and bears a relation with Postel’s concepts of Restitution, for this is discussed in the Zohar in Parashat Mishpatim under the title Saba deMishpatim (the Old Man or the Grandfather of Parashat Mishpatim).Gilgul relates to the Hebrew word for wheel/cycle, galgal
Franckenberg's Gemma Magica oder Magisches Edelgestein, 1688 "...refers to Paracelsus and astrology throughout. In this text <pp. 92, 113, 118, 148> he deduces the cabalistic names of the angels from his reading, not of Reuchlin or Agrippa, but of the books of Daniel and David, also mentioning Luther."
- Urszula Szulakowska: Robert Fludd and Abraham van Franckenberg; in: Mystical Metal of Gold. ed by Stanton Linden, 2007
'The key of this book <Clavis Absconditorum> is to write and know the place of the seven bodies about & their natures & their houses & all their vertues after that they approach the earth'.
-Postel
http://books.google.com/books?id=meDUaczkjqQC&pg=PA17&lpg=PA17&dq=abraham+franckenberg +postel&source=bl&ots=mR4h2S4DPq&sig=e6Dn7FPFQGeIDyJLUEKzN- 7_I4s&hl=en&sa=X&ei=eMwiT4noNeXo2AWitMHfDg&ved=0CD4Q6AEwBQ#v=onepage&q=abraham%20franckenberg%20postel&f=false
" Bureus' ideas on the New Jerusalem, on the rebuilding of the Temple of Ezekiel, and on the future dispensation, incorporated the older Sabean framework of a sevenfold periodic cycle, later superimposed by the threefold Joachite scheme, as in Postel, Roeslin, and their followers among the Rosicrucians."
-Susanna Åkerman: Rose cross over the Baltic: the spread of rosicrucianism in Northern Europe, 1998
Seven days of Creation or seven planetary speres? see:
-Adela Yarbro Collins: Cosmology and Eschatology in Jewish and Christian Apocalypticism
http://books.google.com/books?id=eZ...=seven planets seven days of creation&f=false
"The north, Postel explained, was the dark spot of the universe, the focus of evil from which all wickedness emanated. Satan was physically present in the far north, chained there for all eternity, surrounded by his demons. But because all evil was redeemed by the grace of God, the cursed north could, at the same time, be the source of everything that was good and righteous. Precisely because the north was the abode of Satan, it also had to be the site of earthly Paradise. According to Postel, the North Pole was the place on earth that was closest to heaven."
-Stefan Donecker (European University Institute, Florence): The Lion, the Witch and the Walrus: Images of the Sorcerous North in the 16th and 17th centuries
http://www.inst.at/trans/17Nr/4-5/4-5_donecker.htm
"...Postel the mathematician and cartographer, in his Polo adapta nova charta universi, the first map of the world in polar projection, sought to site at the pole the land of the Hyperboreans (who knew neither illness nor death), the Earthly Paradise..."
-Francois Secret: “Palingenesis, Alchemy and Metempsychosis in Renaissance Medicine” (trans. by H.J. Sheppard) in: Ambix 26, 1979, pp 83-89.
This approach appealed greatly to the Hyperborean enthusiast, Bureus.
"As Franckenberg saw, Postel's influence extends into the very structure of Bureus' apocalyptic scheme....through contacts with the mystic Abraham van Franckenberg in Amsterdam, Johannes Bureus' personal fame rose to such a point that he was to be numbered among the Christian kabbalist sages of the nations, sages such as Joachim di Fiore, Pico, Reuchlin, Agrippa, Francesco Giorgi, Giordano Bruno, Petrus Bongus,Julius Sperber and Philip Ziegler.
The list was appended to a new edition of Guillaume Postel's Absconditorum a Constitutione Mundi Clavis (Amsterdam, 1646, 1st ed. Paris, 1553), a mystical text on the seven ages presented by Franckenberg to the court of Wladislaus IV in Poland.
After drawing Bureus into this radical kabbalist company, Franckenberg ends his edition <of Postel's Clavis Absconditorum> with an Oriental-Pythagorean post-script that displays the key of David that contains the secret of Divine kingship, with the announcement:
'Salve, Philomysta. We offer you the key to the innermost sanctuary, but purify yourself before you move towards the Divine: this is the law. Learn of Universal sapience, of the tetrachord and of Apollo's chariot, the wheel of sapience, and you will more easily understand the science of the Mercabah, the chariot of Isra-El, a reliquary cherubinic, or biblical.'
The Pythagorean tetrachord and the chariot of Apollo is in this statement set beside the Mercabah mysticism of the kabbalists, perhaps to suggest that knowledge of musical consonance and poetry can enhance the angelic visions of the Bible."
-Susanna Åkerman: Rose cross over the Baltic: the spread of rosicrucianism in Northern Europe
http://books.google.com/books?id=0m...bs_toc_r&cad=4#v=onepage&q=seven ages&f=false
"In a commentary on his <Postel> translation of one of the monumental works of the Kabbalah, the Zohar, he <Postel> wrote: "Christ who, in fact, was born in a like manner to men, was, following the ecstasy of Enoch, amid the multitude of men in his pantopaeon spirit." We have already heard from Jean de Sponde this name Paeon, a basic title for Apollo, healer, helper, physician; and here the prefix Pan denotes the whole of mankind finally saved in the Restoration of all things."
--Francois Secret: “Palingenesis, Alchemy and Metempsychosis in Renaissance Medicine” (trans. by H.J. Sheppard) in: Ambix 26, 1979, pp 83-89.
For more information on the followers of Postel, such as Guy le Fevre de la Boderie, his brother Nicolas, Jean Boulaese, Vincent Cossart, Louis Martel, Adrien Le Tartrier, Jean Edouard Du Monin, Theodore Zwinger, Blaise de Vigenere (who is attributed the 72 seals that has made their way to certain Tarots) , Jean Oporin, Pierre Victor Palma Cayet and many others, see: “L’Ecole De Guillaume Postel”, pp. 187-217. in:Francois Secret: Les Kabbalistes Chretiens de la Renaissance ,1964.
also:
-Maxime Gaume: Les inspirations et les sources de l'œuvre d'Honoré d'Urfé
http://books.google.com/books?id=Nre-bunTPysC&pg=PA397&lpg=PA397&dq=blaise+vigenere+guillaume +postel&source=bl&ots=O_H9iW_zMT&sig=7vlWBnrhFTSsiEhcY-Cor3rFYt4&hl=en&sa=X&ei=iEcpT7- LHKSjsQLftMG2Ag&ved=0CE8Q6AEwCDgK#v=onepage&q=blaise%20vigenere%20guillaume%20postel&f=false
"The survival of Rosicrucian reasoning may have passed, not so much through German thought, as much as through the freethinking circle of Abraham von Frankenburg at Amsterdam. This circle included the Iberian rabbi Menasseh ben Israel and the millenarian mystic Paul Felgenhauer, and some of this atmosphere can still be felt in the paintings of Rembrandt (who illustrated Menasseh's millenarian work Piedra Gloriosa [Amsterdam, 16551 ). Frankenburg's absorption of Jacob Boehme's salvific system, together with the eschatological ideas mediated by Bureus and Morsius, forms a peculiar and eclectic variety of Rosicrucianism as it emerges in van Frankenburg's book of signs, Raphael (Amsterdam, 1654). Arabic angelic mysticism, Kabbala, and Jewish mystical traditions generally informed the entire process."
"...The Liber T[hesaurus] of the Fama could well be Postel's Tabula Aeterna, instead of being, as Edighoffer suggests, Ibn Umail's twelfth-century Tahula Chemia or the Hermetic Tahula Smaragdina."
-Akerman, Susanna. “The Gothic Kabbala: Johannes Bureus, Runic Theosophy, and Northern European Apocalypticism,” in The Expulsion of the Jews: 1492 and After, edited by Raymond B. Waddington and Arthur H. Williamson. New York – London:
Garland Publishing, 1994.
Postel had published a broadsheet of 72 quaternities in Paris in 1553: Tabula aeternae ordinationis quaternario constituto inter summae expansionis et coactionis terminos ( drawn from a larger manuscript of his) that categorized everything into quaternities. A sort of exegesis of the Tetragrammaton and informed by his studies of Joachim of Fiore, alchemy, etc; Postel believed time consists of the ages of Nature, Law, Grace and culminates in Restitution. These belong under the provenance of Father, Mother, Son & Daughter.
To the Father belong: East, yod, fire, Leo, the archangel Michael, chesed,white, citron, Pison, Natural Law.
To the Mother belong: South, heh, air, Taurus, Gabriel, geburah, red, palm tree, Gihon, Scriptural Law.
To the Son belong: West, vav, water, Aquarius, Uriel, tifferet, black, myrtle, Tigris, Grace.
To the Daughter belong: North, final heh, earth, Scorpio's eagle, Raphael, malkuth, blue, willow, Euphrates, Restitution.
Restitution for Postel was symbolized by the conjunction of the moon and sun. The entire model is intended to be applied geographically in that the spiritual pilgrim proceeds from the East to the South to the West and arrives alchemicaly refined at the North.
As Michael Hurst has pointed out at his website's discussion of Postel's Clavis, if the illustration of the Key is rotated so the inscriptions of the Key can be conveniently read, and we follow Postel's itinerary instruction, we read from the east, south, west and north: ROTA. Should this injunction be followed: OTAR, TARO, AROT. Boustrophedonically: ATOR, TORA, ORAT & RATO
It is significant that Postel came to believe that the terrestrial Paradise lay in the North Pole and reflected in his composition of a map of the poles toward the end of his life. Abraham von Franckenberg recapitulates Postel's quaternities in his own work: Raphael oder Artzt Engel, 1676 which follows upon his 1647 centennial edition of Postel's Clavis abscondititorum containing Franckenberg's TARO/ROTA plate as an interpretive illustration of Postel's concepts.
in Postel's Clavis section: Quae in Vetere we read-
"Haec est Cabodielis & Razielis sententia, etiam monumentis secretioris
tradita theologiae, in 72."
" Another version of... < sefer ha-Raziel> the Key to the Palace of the King is described in the beginning of the book . The handle of the key consists of a square for the four elements with a triangle representing man inside; the seven teeth (wardens or angels) of the key represent the seven planets. The key has some resemblance to the key illustrated in Postel's Clavis Absconditorum (1547) a text which discusses the restitution of the soul through the Tree of Life with the comment:
'C'est la la sentence de Cabdiel et Raziel qui nous est transmise par les monuments les plus secrets de la Theologie dans les Reponses verbales des 72 Anciens'.
A second edition of Postel's Clavis was edited by Abraham van Franckenberg in 1646 and was published at Amsterdam by Jan Janssonius, the same printer who set up shop in Stockholm in 1649. There was an emeging market for astro-spiritual healing methods and it was known to some of these readers that Raziel describes the four corners of the square as containing 'four virtues found in herbs and words and grass'. Or as the text says: the key of this book is to write and know the place of the seven bodies about & their names & their natures & their houses & all their vertues after they approach the earth.'
- Susanna Akerman: Queen Christina's Latin Sefer-ha-Raziel Manuscript, in: Judeo-Christian Intellectual Culture in the 17th Century; ed. Allison Coudert, 1999
In his Raphael oder Artzt-Engel ( ), Abraham von Franckenberg ( – ), disciple and early biographer of Jakob Boehme, has a section on ‘Kabalistic or Spiritual Medicine,’ which includes a table of correspondences between Kabala, Magia and Chymia. At the bottom of the table we discover that the loci for these practices are, respectively, Oratorium, Auditorium, and Laboratorium. is association of esoteric sciences and spaces is undoubtedly inspired by the Paracelsian doctor Heinrich Khunrath of Leipzig ( – ), whose De Igne magorum ( ) insists on the vital necessity of working alchemy, magic and cabala in conjunction.2 ese three arts combine in Khunrath’s Christian-Cabalist, Divinely-Magical, and Physico-Chemical magnum opus the Amphitheatrum sapientiae aeternae ( / ), finding their most profound expression in his image of the Lab-Oratorium, probably one of the best-known images of early modern esotericism....
...Christ can be known naturally through the Stone and the Stone theosophically through Christ.8 So inspired is he by this revelation that he exuberantly exclaims, ‘Oh, wondrous Regenerative harmony of the Macro and Microcosm’...
..thee notion of music mediating between the verbal activity of the Oratory and manual activity of the Laboratory finds support from the famous third-century musical theorist Aristides Quintilianus’ claim that ‘Only music teaches both by word and by the counterparts of actions’.10 is reading is partly encouraged, too, by one of the most famous Renaissance magi, Marsilio Ficino ( – ), who justified his personal combination of medicine, music and theology with the argument that music is as important for the intermediary spirit as medicine is for the body and theology for the soul.11 True, Franckenberg prefers soul as the intermediary principle, but the table-cloth beneath Khunrath’s instruments bears the more “pneumatic” message: ‘Sacred Music is the dispeller of sadness and evil spirits,
Khunrath, Amphitheatrum, , II, Khunrath, Amphitheatrum, , II, 10) Mathiesen, ‘Harmonia and Ethos’, 11) Kristeller, ‘Music and Learning’, , .
-P.J. Forshaw, 2010: Oratorium—Auditorium—Laboratorium: Early Modern Improvisations on Cabala, Music, and Alchemy. Aries, 10(2), 169-195.
http://www.scribd.com/doc/44584817/Forshaw-Cabala-Music-and-Alchemy
Of the 72 naibs:
"Postel says that the republic of the world will be divided into twelve seats with twelve other seats as alternates, so that there will be twenty-four centers for administering the theocracy.<<Postel names the twelve seats of the universe as (1) Chambale, (2) Sammarcant, (3) Moscovva, (4) Leucetia, (5) Marroca, (6) Chaschiuma (7) Motapa, (8) Cuscoa , (9)
Tenuchtitla, (10) Graua, (11) Australis Regio, (12) Vardhaus. … <<See the British Library, Sloane ms. 1412, fol. 12>>…'The number twelve represents the twelve apostles, the twelve tribes of Israel, the twelve signs of the Zodiac<< Ibid., fols. 6, 22'.>>. Postel calls the twelve heavenly signs the doors for entering into the heavenly state IERUSALEM, for the building of which God and nature made the world. For each of the "twelve doors "or seats of the universal monarchy there are six ministers which make seventy-two judges in all <<127. Ibid., fol. 27.>>. Postel's plan for a universal monarchy may seem to the modern reader to be the utopian dream of an idealist which he never expected to be realized. Regardless of how his world view may strike us today, Postel was completely serious about the necessity of establishing God's kingdom on earth. This kingdom has the Tabernacle as its model."
-Marion Kuntz: "Guillaume Postel and the Universal Monarchy",in Guillaume Postel 1581-1981, ed. Guy Tredaniel, 1985.
"Chasdia, or the Land of Chessed (God's mercy) was the name Postel gave from the beginning to Terra Australis Incognita (not only Terra del Fuoco but all the conjectural landmass around the South Pole and the Southern parts of America, Africa and Asia). Postel called also Africa Chamia (land of Cham), Asia was for him Semia (land of Sem) and of course Europe was Iapetia.
America was Ophir or Atlantis. But his geography is a mix of the Bible, and Roman, "Chaldean" and Etruscan Antiquity..."
-Marica Milanesi
http://mailman.geo.uu.nl/pipermail/testlist/2004-January/000055.html
Seventy-two judges are for the 72 Names of God and also: gilgul(gimmel,lamed,gimmel,vav,lamed=72)meaning “circles of return” or transmigration, and bears a relation with Postel’s concepts of Restitution, for this is discussed in the Zohar in Parashat Mishpatim under the title Saba deMishpatim (the Old Man or the Grandfather of Parashat Mishpatim).Gilgul relates to the Hebrew word for wheel/cycle, galgal
Franckenberg's Gemma Magica oder Magisches Edelgestein, 1688 "...refers to Paracelsus and astrology throughout. In this text <pp. 92, 113, 118, 148> he deduces the cabalistic names of the angels from his reading, not of Reuchlin or Agrippa, but of the books of Daniel and David, also mentioning Luther."
- Urszula Szulakowska: Robert Fludd and Abraham van Franckenberg; in: Mystical Metal of Gold. ed by Stanton Linden, 2007
'The key of this book <Clavis Absconditorum> is to write and know the place of the seven bodies about & their natures & their houses & all their vertues after that they approach the earth'.
-Postel
http://books.google.com/books?id=meDUaczkjqQC&pg=PA17&lpg=PA17&dq=abraham+franckenberg +postel&source=bl&ots=mR4h2S4DPq&sig=e6Dn7FPFQGeIDyJLUEKzN- 7_I4s&hl=en&sa=X&ei=eMwiT4noNeXo2AWitMHfDg&ved=0CD4Q6AEwBQ#v=onepage&q=abraham%20franckenberg%20postel&f=false
" Bureus' ideas on the New Jerusalem, on the rebuilding of the Temple of Ezekiel, and on the future dispensation, incorporated the older Sabean framework of a sevenfold periodic cycle, later superimposed by the threefold Joachite scheme, as in Postel, Roeslin, and their followers among the Rosicrucians."
-Susanna Åkerman: Rose cross over the Baltic: the spread of rosicrucianism in Northern Europe, 1998
Seven days of Creation or seven planetary speres? see:
-Adela Yarbro Collins: Cosmology and Eschatology in Jewish and Christian Apocalypticism
http://books.google.com/books?id=eZ...=seven planets seven days of creation&f=false
kwaw
I. Documentary sources
1505. Avignon. Taraux (anonymous account-keeper; Chobaut, Depaulis)
1534. Lyon. Tarau (Rabelais (southerner) MA 131)
1553. Paris. Tarault (Estienne; MA 131)
1559. Paris. Tarot. Tarots (Neux, Depaulis (VxP); MA 131)
c.1560 Paris. Tarots (Christophe de Bordeaux; MA 132)
1564. ?. 1565. Lyon. Tarots (Ps.(?)-Rabelais; MA 132)
1576. Paris. Tarot (Champenois (Straparola); MA 132)
1578. Lyon. Tarots (Guil. des Autels; MA 132)
1579. Paris. Tarots (Ladurie; MA 132-3)
1579. Saint-André (Toulouse). Tarots (Garrisson-Estèbe (1980); MA 133)
1583. Paris. Tarots (Tabourot; MA 133)
1583. Paris. Tarot (Gauchet; MA 133)
1583. Paris. Tarotz (Henri III; MA 133-4)
1585. Paris. Tarots (Perrache; MA 134)
1585. ?. Taraux (Cholières; MA 134)
1592. London. Tarots (Delamothe; MA 134)
1594. Paris. Tarots. Tarotz (Henri IV; D'Allemagne II, 60-62)
1595. ?. Tarot (Le Poulchre; MA 134)
1599. Nancy. Taraulx (Duke Charles III; D'Allemagne II, 212-213; MA 353)
1607. Oxford. Taraux (Cleland; MA 134-5)
1613. Paris. Tarots (Louis XIII; D'Allemagne, II, 64)
1622. Paris. Tarots (Garasse; MA 135)
1622. Lyon. Tarotz (D'Allemagne II, 246)
1637. Paris. Tarots (De Marolles)
1640. Paris. Tarocs ou Tarots (Antoine Oudin, "Recherches Italiennes et Françoises" s.v. "Tarrocchi")
1650. Lyon. Taros (D'Allemagne II, 258)
1659. Paris. Taros (Maison Academique des Jeux)
1694. Paris. Tarots (Dictionnaire de l'Académie Française)
1727. Paris. Tarots (René Hérault; D'Allemagne, II, 78-83)
1768. Paris. Tareau, Taro (Dictionnaire de la langue Romane, ou du vieux langage François)
1771. Paris. Tarots (Dictionnaire universelle françois et latin, vlugairement appelé Dictionnaire de Trévoux)
I do not see above mention of 'tarots' in Les jeux de l'incognu Monluc, 1630:
p.159
"Le courtisan luy osta l'espee des tarots, & lui sit demander l'aumosne, le mettant ez mains d'un barbier pour le faire penser a ses affaires, faisant voir par cette action qu'il estoit d'un courage autant noble a la rose & debonnaire fils de Charlemagne, comme a droit & non a gauche comme un taureau bannie. Ce combat ne dementit point sa belle taille de deniers royaux, ny les armes qu'il avoit acquises es guerres, ouses ayeuls ne furent jamais.
p.290
"Un Peintre luy avoit peint un Hercule avec sa massue, dont il faillit à mourir de peur, & fit changer l'Hercule en Sasô, & la massue avec une machoire d'asne. Jamais il ne iovoit aux tarots tant il craignoit de voir les figures & les cartes des batons: il n'usoit pas mesme du mot d'embuche, ny ne voulut jamais user dû ligno sancto, qu'on dit en Italie, quoy qu'il en eut bô besoin. Il apprehendoit la vieillesse, seulement de peur d'estre contraint de porter un bâton, & ne poúvoit souffir qu'és armés de Bourbon ïl y eut une barre, si bien que ce sut luy qui le premier dit Barrabas.
(A fear of Sticks?)
"A painter had painted him as Hercules with his club, which he nearly died of fright at, and had Hercules changed to Samson, and the club with a jawbone of ass. He never looked at tarot cards as he feared to see the figures and cards with batons: . . . and he feared old age . . . only because he may be forced to bear a stick . . .
Kwaw
http://gallica.bnf.fr/ark:/12148/bpt6k5739484c
Title : Les jeux de l'incognu
Author : Monluc, Adrien de (1571-1646)
Publisher : T. de La Ruel (Paris)
Publisher : P. Rocolet (Paris)
Publisher : A. de Sommaville [etc.] (Paris)
Date of publication : 1630
